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“Ravishing playing"

- Anne Midgette, The Washington Post, April 17, 2016

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"There is no finer oboist"

- John von Rhein, The Chicago Tribune, April 28, 2011

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"Incomparable"

- Aldo Nicastro, The Classical Voice of Rome, May 2012

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"Izotov, one of the Chicago Symphony's solid gold assets, caressed the work's lyrical heart and brought smiles in passages of unabashed exoticism."

- Lawrence B. Johnson, Chicago On The Aisle, June 7, 2013

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"The oboe playing of Eugene Izotov unites the elegant tonal expression of the Tabuteau French school with his own fiery Russian temperament and the experience of playing with some of today's greatest singers - a potent, compelling, and utterly personal musical chemistry."   

- Richard Dyer, The Boston Globe, August 2005

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"The tone of the oboe is often nasal, but Chicago Symphony's [Eugene Izotov] has a very pure sound" 

Giangiorgio Satragni, La Stampa, April 25, 2012

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"Izotov treated the score accordingly, relishing its airy grace and playful spirit. His oboe did not emit a note that wasn't elegantly turned. As always, his liquid legato, sweet tone and ability to sustain long phrases on a seemingly endless column of breath were remarkable."

- John von Rhein, The Chicago Tribune, December 22, 2007

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"Airy, blithe and affectionate, the music showed off the orchestra’s silken string sound and excellent winds, in particular the principal oboist, Eugene Izotov."

- Steve Smith, The New York Times, February 1, 2010

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"Eugene Izotov's solo was exquisite"

- Elizabeth Barnette, The Classical Source, January 30, 2010

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"Mr. Izotov's oboe solos were hauntingly, soulfully beautiful."

- Phyllis Dreazen, The Times Weekly, June 17, 2010

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"Eugene Izotov's remarkable breath control enabled him to sustain long legato passages with a seamless sound that was sweet when it needed to be, penetrating when it had to be. This was superb oboe playing placed entirely at the service of the music""

- John von Rhein, The Chicago Tribune, May 16, 2014

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"There is exquisite playing from the orchestra, the very poignant oboe of Eugene Izotov being the standout."

- Christopher Abbot, The Fanfare Magazine, October 14, 2008

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"[Izotov's] playing is technically immaculate, musically sensitive and warmly expressive. The elegant beauty and variety of his tone and the supple warmth with which he fills out the long-breathed phrases of Ravel's "Piece en forme de habanera" and Rachmaninov's "Vocalise" suggest he has learned much from great opera singers"

- John von Rhein, The Chicago Tribune, February 24, 2006

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"... a perfect orchestral sound, superb technique, yet enough personality to make those many operatic solos shine. I would say that the Met is darned lucky to have him."

- Steve Ritter, The American Record Guide, November 2005

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"Principal oboist Eugene Izotov proved to be a brilliant musician."

- Mark Kanny, The Pittsburgh Tribune, May 13, 2007

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"[The Schumann Romances] can be extremely expressive in the right hands and were thus superb with oboist Eugene Izotov and pianist James Levine. Mr. Izotov's singing tone was especially appreciated in the middle, rather rhapsodic piece."

- Fred Krishnit, The New York Sun, February 28, 2005

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"Schumann's Romances for Oboe and Piano showed off the elegance of the oboist Eugene Izotov, accompanied sensitively by James Levine".

- Anthony Tommasini, The New York Times, March 1, 2005

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"[Mr. Levine] provided sensitive keyboard support for the bel-canto oboist Eugene Izotov in Schumann's Romances"

-  Martin Bernheimer, The Financial Times, March 1, 2005

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"Izotov's skills are simply superb, marked by dazzling technique and a gift for finding the continuous line in Mozart's bright, occasionally angular writing.... it was a thrilling display of artistic mastery and youthful bravado.".

- Joshua Kosman, The San Francisco Chronicle, March 17, 2000

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"Izotov was superb.... [he] shone in the eloquent solo that opens the slow movement of the Barber Violin Concerto"

- Richard Dyer, The Boston Globe, April 21, 2000

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"The real heartbreaker was oboist Eugene Izotov. Rare is the oboist with such richness and depth of tone, and Izotov's almost extravagant expression - not to mention real virtuosity - made Hummel's Op. 102 Adagio and Variations sound like far greater music than it is."

- Scott Cantrell, The Kansas City Star, August 19, 1996 

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"Music is pouring out of his body, Izotov has total control and yet complete freedom: no humble woodwind player has the right to be such an exciting, undeniable s-t-a-r."

- Janos Gereben, Post Newspaper Group, March 18, 2000

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"He quickly established his credentials with dark-toned, highly expressive playing and the brash rhythmic energy of youth. Izotov's playing is so strong, in fact, that the rest of the musical world took note."

- Joshua Kosman, DATEBOOK, The San Francisco Chronicle, August 25, 2000



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